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The best critics of the nineteenth and twentieth centuries demand perfect rhyming, and no aspirant for fame can afford to depart from a standard so universal. It is evidently the true goal of the English, as well as of the French bard; the goal from which we are but temporarily deflected during the preceding age.
But exceptions should and must be made in the case of a few who have somehow absorbed the atmosphere of other days, and who long in their hearts for the stately sound of the old classic cadences. Well may their predilection for imperfect rhyming be discouraged to a limited extent, but to chain them wholly to modern rules would be barbarous. Every limited mind demands a certain freedom of expression, and the man who cannot express himself satisfactorily without the stimulation derived from the spirited mode of two centuries ago should certainly be permitted to follow without undue restraint a practice so harmless, so free from essential error, and so sanctioned by precedent, as that of employing in his poetical compositions the smooth and inoffensive allowable rhyme. (en) |
